।। श्रीसर्वज्ञाय नमः।।  
|| śrīsarvajñāya namaḥ||   

Salutations to the omniscient being. 

चतुर्वर्गफलं नित्यं जैनीवाचमुपास्महे। रूपैर्द्वादशभिर्विश्वं यया न्याय्ये धृतं पथि।।१।।  

caturvargaphalaṃ nityaṃ jainīvācamupāsmahe| rūpairdvādaśamirviśvaṃ yayā nyāyye dhṛtaṃ pathi||1|| 

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We (the authors of this treatise) constantly worship the Speech of Jinas, which accomplishes the fourfold ends of human life (Dharma, Artha, Kāma, Mokṣa) and which has held the world on the righteous path with twelve Rūpas (Dramatic Genres). 

 

अभिनेयस्य काव्यस्य भृरिभेदभृतः कियत्। कियतोऽपि प्रसिद्धस्य दृष्टं लक्ष्म प्रचक्ष्महे।।२।। 

abhineyasya kāvyasya bhṛribhedabhṛtaḥ kiyat| kiyato’pi prasiddhasya dṛṣṭaṃ lakṣma pracakṣmahe||2|| 

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We (the authors of this treatise) are describing some of the renowned descriptions of Nāṭya out of so many (given in Nāṭyaśāstra and other earlier texts by leaving the topics non important to the 12 Rūpas) 

 

नाटकं प्रकरणं च नाटिका प्रकरण्यथ। व्यायोगः समवकारो भाणप्रहसनं डिमः।।३।।  
अङ्क ईहामृगो वीथीचत्वारः सर्ववृत्तयः। त्रिवृत्तयः परे त्वष्टौ कैशिकीपरिवर्जनात्।।४।।  

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nāṭakaṃ prakaraṇaṃ ca nāṭikā prakaraṇyatha| vyāyogaḥ samavakāro bhāṇaprahasanaṃ ḍimaḥ||3||  
aṅka īhāmṛgo vīthīcatvāraḥ sarvavṛttayaḥ| trivṛttayaḥ pare tvaṣṭau kaiśikīparivarjanāt||4|| 

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Nāṭaka, Prakaraṇa, Nāṭikā, Prakaraṇi, these four have all the four Vṛttis (Bhāratī, Sātvatī, Ārabhaṭī & Kaiśikī) and Vyāyoga, Samavakāra, Bhāṇa, Prahasana, Ḍima, Aṅka, Īhāmṛg, Vīthī consists of only three Vṛttis excluding Kaiśikī. 

 

ख्याताद्यराजचरितं धर्मकामार्थसत्फलं। साङ्कोपायदशासंधिदिव्यांगं तत्र नाटकम्।।५।।

khyātādyarājacaritaṃ dharmakāmārthasatphalaṃ| sāṅkopāyadaśāsaṃdhidivyāṃgaṃ tatra nāṭakam||5|| 

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The Rūpa in which the accomplishment Dharma, Artha and Kāma; Aṅka, Upāya, Daśā, Saṃdhi (as parts of the Nāṭya); Celestials (as characters) and the memoirs of famous kings of ancient times are the parts then that is Nāṭaka. 

 

उद्धतोदात्तललितशान्ता धीरविशेषणा। 
वर्ण्याः स्वभावश्चत्वारो नेत्रृणां मध्यमोत्तमाः।।६।। 

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uddhatodāttalalitaśāntā dhīraviśeṣaṇa|

varṇyāḥ svabhāvaścatvāro netrṛṇāṃ madhyamottamāḥ||6|| 

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Dhīroddhata, Dhīrodātta, Dhīralalita and Dhīraśānta are the four types of natures of the Heroes of Upper and the Middle classes to be described.   
देवा धीरोद्धता धीरोदात्ता सैन्येशमन्त्रिणः। 
धीरशान्ता वाणिग्विप्रा राजानस्तु चतुर्विधाः।।७।। 

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devā dhīroddhatā dhīrodāttā sainyeśamantriṇaḥ|  
dhīraśāntā vāṇigviprā rājānastu caturvidhāḥ||7|| 

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Celestials are of Dhīroddhata nature, Ministers are that of Dhīrodātta, Merchants & Brahmins have Dhīraśānta nature and Kings can be all the four. 

धीरोद्धतश्चलश्चण्डो दर्पी दम्भी विकत्थनः। 
धीरोदात्तोऽति गम्भीरो न्यायी सत्वी क्षमी स्थिरः।।८।। 
शृङ्गारी धीरललितः कलासक्तः सुखी मृदुः। 
धीरशान्तोऽनहंकारः कृपालुर्विनयी नयी।।९।। 

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dhīroddhataścalaścaṇḍo darpī dambhī vikatthanaḥ|  
dhīrodātto’ti gambhīro nyāyī satvī kṣamī sthiraḥ||8|| 
śṛṅgārī dhīralalitaḥ kalāsaktaḥ sukhī mṛduḥ|  
dhīraśānto’nahaṃkāraḥ kṛpālurvinayī nayī||9|| 

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Dhīroddhata is unstable, furious, arrogant, fraud and a boast. Dhīrodātta is very resolute, just, temperate, merciful and stable. The hero with Dhīralalita nature is impassioned with amour, fond of arts, joyful and uncruel. Dhīraśānta is humble, compassionate, disciplined and ethical.  

 

मुख्यमिष्टफलवृत्तमङ्गं प्रासङ्गिकं क्वचित्। सूच्यं प्रयोज्यमभ्यूह्यमुपेक्ष्यं तत्चतुर्विधम्।।१०।। 

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mukhyamiṣṭaphalavṛttamaṅgaṃ prāsaṅgikaṃ kvacit| sūcyaṃ prayojyamabhyūhyamupekṣyaṃ tatcaturvidham||10|| 

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The plot is divided into two; Mukhya and Prāsaṅgika. The Mukhya or main is the one that drives the play and serves as the playwright's primary focus, developing and culminating the narrative. The subordinate, or Prāsaṅgika is only found in some places and moves in tandem with the main narrative. From another point of view the plot is divided into four i.e. Sūcya, Prayojya, Abhyūhya and Upekṣya. 

 

नीरसानुचितं सूच्यं प्रयोज्यं तद्विपर्ययः। ऊह्यं तदविनाभूतमुपेक्ष्यं तु जुगुप्सितम्।।११।। 

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nīrasānucitaṃ sūcyaṃ prayojyaṃ tadviparyayaḥ|  ūhyaṃ tadavinābhūtamupekṣyaṃ tu jugupsitam||11|| 

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Sūcya is without Rasa because it is inappropriate and should not be staged directly but through the suitable hints and hints. Prayojya is opposite of the former, and it is to be staged. The one which is imagined is Abhyūhya and the neglected one is Upekṣya.